What was that? Instantloveland could have sworn it heard the sound of anguished moaning- or was it just a gust of wind?- rising up from within the Whitechapel Gallery’s darkened archive/library space…ah, of course: it’s the...
Julie Mehretu’s art- if White Cube is to be believed- is ‘traversed by history (…) grounded in urgent political and social questions while simultaneously troubling the limits of abstract painting.’ It can’t speak for the limits...
In Amy Sillman’s work, ‘an energy of antagonism resides in forms that remain somehow in flux, feelings that don’t resolve, signs that don’t signify and materials that struggle between construction and deconstruction.’ Well,...
The 1980s are considered a peculiarly intense period of change in British history and culture. With that in mind, the following passage in David Sweet’s tribute to Clyde Hopkins, published here in July, caught Instantloveland’s eye:...
Tate St Ives’ Patrick Heron show is up until the last day of September. Whilst the paintings themselves have received the double thumbs-up emoji from all sides, the reactions to Tate’s controversial decision to group the works together...
There’s a surprising intensity, clarity and dexterity to ‘Sean Scully 1970’, currently showing at the Walker Art Gallery, Liverpool. This is largely down to the colour: some ingenious and bizarre couplings of primaries and...
This show offered ample evidence of Bowling’s trailblazing painterly intelligence; and the accompanying catalogue -a handsome artefact in its own right- carries a selection of his acute and passionate writings on his challenging art,...
